I didn’t get to attend half as many panels as I’d liked to, but I did get to read several other papers that I missed (in the past two years of conferences) after the fact and I noticed that there are some clear trends emerging in the scholarship, now in 2015. So what follows is just my own general impression of what people are doing at this point in time. It’s way more complicated and there are tons of mini-niches that I’m not even touching on here, but this is a broad-strokes overview of my own thoughts.

1. Fogle

My own paper at this year’s DFW Conference was about Section 22 of The Pale King (the story of Chris Fogle), so I was attuned to other mentions of Fogle’s story. In fact, there were at least two other papers that talked about Fogle’s conversion from a wastoid to a tax examiner. In previous years, I think it was Don Gately’s story that was used as the most common example of Wallace’s fictional project about redemption and adulthood. I was happy to see Fogle mentioned in so many places because I believe that section of The Pale King contains some of Wallace’s finest writing.

2. Baudrillard

Several papers talked at length about Baudrillard’s simulacra and the phases of the image. This is a rich subject for engaging much of the post-post-modern (or whatever) literature out there today and so it’s not too surprising that so many scholars have brought it to bear on Wallace’s work.

3. Theology/Religion

Wallace’s relationship to religion and the supernatural, both in his work and in his life as an artist, is fascinating because of how it evolves over time and how that belief or concept of the supernatural is reflected in his work. Current work in this area shows that theology / religion stands as a major element in Wallace’s fictional works.

4. The Letters

Stephen Burn’s keynote address at this year’s conference was centered around his effort to assemble a collection of Wallace’s letters on writing (rather than personal letters). Because of some difficulty securing permissions, it’s unclear when and if Burn’s manuscript will be published. It might take a couple of more years before we see this book, but it stands to be a major contribution to DFW studies. Burn separates out Wallace’s correspondence into three eras: The Apprentice Years, when DFW wrote to older masters; The Genius Years, when DFW wrote to contemporary writers; and the Emeritus Years, when DFW wrote to younger writers. The letters also reveal a lot about what Wallace was reading at each stage in his career.

The poet Laura Sims wrote her first letter to novelist David Markson in 2003: a fan letter expressing her love of Wittgenstein’s Mistress. Markson’s reply was collegial enough that she replied again, order and the chain continued for years. At one point in their correspondence, prostate Sims prints out some blog entries about his work and mails them to Markson. His response is “HOW CAN PEOPLE LIVE IN THAT FIRST-DRAFT WORLD?” What Markson can’t see is that much of the Internet takes the tone of his letters—informal, often joking, and not written with perpetuity in mind. Markson’s self-deprecating humor shines throughout. He struggles to leave the house—he lives in text.

This new book of letters, Fare Forward, includes 66 letters from Markson (spanning 2003–2010), an interview Sims conducted with Markson for Rain Taxi, Markson’s introductory remarks for an AWP panel organized by Sims, and an Afterword by Ann Beattie. Sims’ side of the correspondence is omitted and she uses footnotes to explain the context of Markson’s replies. This slim volume is welcome now because fans and readers will be grateful for anything that keeps Markson’s voice in print. But it is only a sliver of the letters Markson produced in his lifetime. Where are the decades of correspondence with other writers? Are his letters to Malcolm Lowry, William Gaddis, and other influential writers lost forever? Some of his letters are already in literary archives or scattered across private collections. Markson’s letters to Gilbert Sorrentino went to the University of Delaware. Some of his letters to David Foster Wallace and Steven Moore reside at the Harry Ransom Center, but the immense effort required to track down all of Markson’s letters likely does not figure well in a publisher’s profit and loss statement.

It seems inevitable that many of these letters—and the stories they contain—are lost forever. But, throughout his work, Markson makes it clear that preservation of art does not necessarily correlate to preservation of fame.

The Carmina Burana. Any and all names of the original vagabond thirteenth-century poets long forgotten. [Reader’s Block, 47]

The poems of Catullus were lost for a millennium. Tradition has it that the single manuscript discovered in Verona in the fourteenth century had been used to stop a bunghole. [Reader’s Block, 112]

It is difficult to find those places today, and you would be no better off if you did, because no one lives there.
Said Strabo of the lost past. [This is Not a Novel, 185]

Which stories—or letters—survive into the long future, even electronically, is ultimately more a product of luck and coincidence than any sustained effort of preservation or curation: a letter is sold to The Strand, an email is deleted, and a manuscript page gets recycled. Perhaps Strabo is correct that we would be no better off knowing every detail of the lost past, perhaps it is a fallacy to believe that the stories we lost to paper and time and happenstance are any more meaningful than stories we willfully ignore today. Yet, Markson himself was a stickler for details and exactitude and the deeper our history, the more willing we are to preserve it, the more likely writers like Markson will be appreciated long after they are gone.

♦—♦

In Nicholson Baker’s book-length ode to John Updike, U and I, Baker at first contemplates writing a lengthy appreciation of his recently deceased hero, Donald Barthelme, but arrives at:

“Why bother? Barthelme would never know. . . . He had died somewhat out of fashion, too, and I was curious to watch firsthand the microbiologies of upward revaluation or of progressive obscurity.”

Three and a half years have passed since the Markson died and he seems headed toward the progressive obscurity to which Baker alludes. However, the microbiology of his reputation evolves somewhat with the release of these letters.

Markson’s last four books (Reader’s Block, This is Not a Novel, Vanishing Point, and The Last Novel) were admittedly not bestsellers aimed at a general audience. They were all narrated by a nameless Author who only occasionally interrupted a stream of literary and art history factoids. And yet they were page turners—the best sorts of novels without feeling like a guilty pleasure. Evan Lavender-Smith called these books “porn for English majors.” So it’s likely that these final four novels of Markson’s will remain cult classics, and his early novels are interesting but not groundbreaking. But, Markson did write one novel that is an unabashed masterpiece: Wittgenstein’s Mistress.

Like Author, Markson was acutely aware of his advanced age and his lack of recognition. It is one thing to be relegated to the dustbin of history, but quite another to be buried alive.

About the 2004 presidential election, Markson writes “I hope neither of you slashed your wrists after the election. I was gonna jump off the roof here, but my sciatica hurt too much for me to get over the railing.”

His last postcard to Sims ends: “Meantime nada here. Everything I can think of would be making me repeat myself—and I almost prefer the silence. (Actually, I hate it.)”